2023 AES International Conference on Spatial and Immersive Audio has ended

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2023 AES International Conference on Spatial and Immersive Audio

The below schedule is as of August 1, 2023, and is subject to change.

Default Time Zone is BST-British Summer Time

This is an in-person event only.
REGISTRATION IS NOW CLOSED.

3:30pm BST

Registration (pre-conf) Oastler (OA) building foyer

5:00pm BST

Ex Corde Vocal Ensemble: Northern Harmonies - Networked Music Performance RS2 Phipps

6:00pm BST

HISS Demo Concert 1: Going / Places by Jonty Harrison RS2 Phipps

8:30am BST

Registration Oastler (OA) building foyer

9:30am BST

Opening remarks OA4/01

10:00am BST

Keynote 1: Spatial Audio for Immersive Environments - Current Technological Challenges and Applications OA4/01

11:15am BST

Noise-resistant correlation-based alignment of head-related transfer functions for high-fidelity spherical harmonics representation OA4/01 Exploring narrative possibilities of AAR with 6DoF (talk) OA6/10 Visit the Fraunhofer IIS Demo Room LW3/10 BR1 Visit the Genelec Experience Room LW4/11 GR1

11:30am BST

Growing music (to be?) immersive - Peter Gabriel and Dolby Atmos LW4/01 Next Generation Audio: Production and concepts in MPEG-H Audio LW3/01

11:35am BST

Cross-Correlation-Based Time-Aligned Interpolation of Head-Related Impulse Responses OA4/01

11:55am BST

The hartufo toolkit for machine learning with HRTF data OA4/01

12:00pm BST

Exploring narrative possibilities of AAR with 6DoF (demos) OA6/10

12:15pm BST

Torso Effects in HRTF OA4/01

12:30pm BST

Growing music (to be?) immersive - Peter Gabriel and Dolby Atmos LW4/01 Next Generation Audio: Production and concepts in MPEG-H Audio LW3/01

1:00pm BST

A commonly-accessible toolchain for live streaming music events with higher-order ambisonic audio and 4k 360 vision OA4/02 A Listening Test Evaluation of Spatial Sound Technologies in Music Production: Dolby Atmos and Ambisonics OA4/02 A Novel Algorithm for Volumetric Amplitude Panning and Diffusion in Spatial Audio Production OA4/02 Adapting live loudspeaker array spatialisation methods for a site-specific live electronic music performance in physical, virtual and hybrid contexts OA4/02 An Investigation Into Immersive Contemporary Popular Music Mixing Practice OA4/02 Case Studies in Music Production for 3D Audio Reproduction with Bottom Channels OA4/02 Employing the Processing Capability of Mixing Consoles and Audio Interfaces to Spatialize Sound OA4/02 Exploring experience and expertise in the context of preference for spatial sound treatment in immersive environments OA4/02 Exploring the influence of multichannel soundtracks on film immersion OA4/02 Frequency Dependency of Loudness Perception for Immersive Audio Formats OA4/02 Immersive Audio Test Signals for Musical Applications OA4/02 The effect of head tilt on the perception of the top layer of three-dimensional audio OA4/02

1:30pm BST

Moving through a spatial audio scene: perception and applications OA4/01

1:45pm BST

Machine Learning with HRTF data and the hartufo library OA6/10 Relaunch of Major Tom LW3/01 The Immersive Score: Practical application of Film Music in Dolby Atmos LW4/01

2:45pm BST

Machine Learning with HRTF data and the hartufo library OA6/10 Relaunch of Major Tom LW3/01 The Immersive Score: Practical application of Film Music in Dolby Atmos LW4/01 Metaverse Music: In the Wild OA4/01

4:00pm BST

Robust Binaural Measurements in the Ear Canal Using a Two-Microphone Array OA4/01 Double U-FIX Field Recording LW4/01 Immersive Music Recording in the Studio: Incorporating existing equipment with the new production norms LW3/01 Practice-based approaches to 3D audio for narrative experiences in six-degrees-of-freedom Virtual Reality OA6/10

4:20pm BST

A VQ-VAE for Individualized HRTF Modeling - Obtaining Full-Resolution HRTFs from Spatially Sparse Measurements OA4/01

4:40pm BST

Scalable and Efficient Prediction of Personalized Head Related Transfer Functions and Headphone Equalization Using Machine Learning Techniques based on Video Capture OA4/01

4:55pm BST

Detection Threshold of Head-Tracking Latency with and without individualized HRTFs in Binaural Rendering OA4/01

5:00pm BST

HISS Demo Concert 2: Multichannel pieces from HISS-related composers RS2 Phipps Double U-FIX Field Recording LW4/01 Immersive Music Recording in the Studio: Incorporating existing equipment with the new production norms LW3/01 Practice-based approaches to 3D audio for narrative experiences in six-degrees-of-freedom Virtual Reality OA6/10

5:10pm BST

Projecting Source Directivity Variations onto an Existing Binaural Room Impulse Response OA4/01

5:30pm BST

Welcome reception RS Foyer

6:45pm BST

Pipe organ recital St.Paul's hall

9:15am BST

Keynote 2: Composing Spatial Music Beyond Technology OA4/01

10:30am BST

Impact of standing waves on human auditory perception of low-frequency direction OA4/01 Visit the Fraunhofer IIS Demo Room LW3/10 BR1 Visit the Genelec Experience Room LW4/11 GR1

10:45am BST

Dimensions of Immersive Audio Experience LW4/01 Next-Generation Audio for Live Sport Broadcast: AI automation of object-based audio production LW3/01 Pisces: Composing Spatially with the Sound Entity Creator System RS2 Phipps Exploring narrative possibilities of AAR with 6DoF (demos) OA6/10

10:50am BST

The role of source signal similarity in distinguishing between different positions in a room OA4/01

11:10am BST

On the perception of musical groove in large-scale events with immersive sound OA4/01

11:45am BST

Blind estimation of ensemble width in binaural music recordings using ‘spatiograms’ under simulated anechoic conditions OA4/01 Dimensions of Immersive Audio Experience LW4/01 Next-Generation Audio for Live Sport Broadcast: AI automation of object-based audio production LW3/01 Pisces: Composing Spatially with the Sound Entity Creator System RS2 Phipps

12:05pm BST

Perceptual Comparison of Parametric Spatial Audio Codings for Binaural Rendering OA4/01

12:25pm BST

Parametric architecture for the transmission and binaural reproduction of microphone array recordings OA4/01

1:00pm BST

A DAW-based approach to immersive audio system evaluation in Network Music Performance contexts OA4/02 Audibility of Binaural Beats Depending on Frequency and Modulation Rate OA4/02 Creating In-air 3D sound objects for immersive sound applications and electroacoustic music OA4/02 Do-it-yourself headphones and development platform for augmented-reality audio OA4/02 Evaluating the Interaural Thresholded Level Distribution as a psychophysically-motivated metric of auditory source width OA4/02 Localisation in virtual choirs: outcomes of simplified binaural rendering OA4/02 Miniature Line Array for Immersive Sound Reinforcement OA4/02 Near-field binaural rendering: evaluating the natural channel separation of loudspeakers mounted in a headrest OA4/02 Pros and cons of artificial head and ambisonics recordings and reproductions used in design processes OA4/02 Relative distance perception of a position-dynamic nearby virtual sound source OA4/02 Sound Environment Control Using an Immersive Audio System – Advancing Sound Experiences for Creators and Listeners Using Active Field Control OA4/02 Virtual 3D microphone arrays by virtual sound sources detected from an FOA response. OA4/02

1:30pm BST

Case Studies in Music Production for 3D Audio Systems with Bottom Channels LW4/01 The role of immersive audio in live jazz recordings LW3/01 Spatial acousmatic music concert RS2 Phipps The Future Of Spatial Audio Reproduction Over Loudspeakers OA4/01

2:45pm BST

Case Studies in Music Production for 3D Audio Systems with Bottom Channels LW4/01 The role of immersive audio in live jazz recordings LW3/01 Spatial acousmatic music concert RS2 Phipps The Future of Immersive Audio: How Machine Learning and AI are Shaping the Landscape OA4/01

4:00pm BST

Towards the neurophysiological characterization of immersive attributes in 3D auditory events OA4/01 Demystifying Crosstalk Cancellation OA6/10 Immersive Object-Based Stem Mastering - Practices and Aesthetics LW4/01

4:15pm BST

Hearing from within a sound: A series of techniques for deconstructing and spatialising timbre OA4/01 Immersive Thinking - Perspectives on Spatial Sound Composition RS2 Phipps

4:30pm BST

Perceptual dimensions of listener envelopment (LEV) in a positional and directional-varying context OA4/01

4:45pm BST

Perceptual thresholds for angular decomposition of direct and reverberant sound in Spatial Room Impulse Responses OA4/01

5:00pm BST

Investigating the Impact of Room Divergence Effect on the Film Watching Experience in Multi-Channel Binauralized Content OA4/01 Demystifying Crosstalk Cancellation OA6/10 Immersive Object-Based Stem Mastering - Practices and Aesthetics LW4/01

5:15pm BST

Objective comparison of 3D audio reproduction with and without bottom channels OA4/01

6:00pm BST

Group photo Oastler (OA) building foyer

6:30pm BST

Banquet for all delegates Smile Bar & Venue

9:15am BST

Keynote 3: What I Think About When I Think About Immersive Audio OA4/01

10:30am BST

Recreating a multi-loudspeaker experiment in virtual reality OA4/01 Visit the Fraunhofer Demo Room LW3/10 BR1 Visit the Genelec Experience Room LW4/11 GR1

10:45am BST

Binaural production techniques and tools - Multiformat production versus native binaural approaches OA6/10 Immersive Audio as its own Art LW4/01 MPEG-H Audio on Air’ LW3/01

10:50am BST

Designing Immersive Audio for a Location-Based Augmented Reality Experience in a Museum Setting OA4/01

11:10am BST

ORTF-2plus2: A stereophonic spot microphone technique for 3D Audio OA4/01

11:45am BST

Liminal Spaces: Composing for a New Layered Immersive Spatial Audio System OA4/01 Binaural production techniques and tools - Multiformat production versus native binaural approaches OA6/10 Immersive audio as its own art LW4/01 MPEG-H Audio on Air’ LW3/01

12:05pm BST

Immersive audio as a tool for the preservation and transference of musical heritage: Music and spaces in 19th-century Colombian music OA4/01

12:20pm BST

Object-Based Workflows in Live Sports Broadcasting Using AI-Based Mixing OA4/01

1:00pm BST

A systematic review of reverberation and accessibility for B/blind users in virtual environments OA4/02 Avatar representation in Extended Reality for Immersive Networked Music Performance OA4/02 Creating navigable auralizations using RIR convolution: Impact of grid density and panning method on perceived source stability OA4/02 Requirements for 6DoF audio service and 6DoF audio metadata OA4/02 Room Impulse Response Estimation in a Multiple Source Environment OA4/02 RoomZ: Spatial panning plugin for dynamic auralisations based on RIR convolution OA4/02 Six degrees-of-freedom room impulse response dataset measured over a dense loudspeaker grid (6DRIR-DL) OA4/02 SoniCross: Evaluating Annoyance in Sonifications for Electric Vehicles using Audio-Visual simulation OA4/02 Spatio-sonic site survey using ambisonics recordings and VR rendering – designing soundscapes in the early planning process OA4/02 Use of Immersive Audio as an Assistive Technology for the Visually Impaired: A Systemic Review OA4/02 User Preference Evaluation of Direct-to-reverberant Sound Ratio of Virtual Ambisonic Listening Spaces OA4/02 Using Personal HRTF and Binauralized Headphone Monitoring in Immersive Soundtrack Post Production OA4/02

1:30pm BST

Creating Fluctuations in 3D Audio Music Productions LW3/01 My Practice of Live Performance of Spatial Electronic Dance Music LW4/01 Immersive mix demo RS2 Phipps The Inception Dilemma OA4/01

2:45pm BST

Creating Fluctuations in 3D Audio Music Productions LW3/01 My Practice of Live Performance of Spatial Electronic Dance Music LW4/01 Immersive mix demo RS2 Phipps Spatial Audio for Games: Exploring the Latest Techniques and Tools for Immersive Audio Experiences OA4/01

4:00pm BST

Panel discussion - How Can We Make Spatial Audio Truly Immersive? OA4/01

5:30pm BST

Closing remarks LW4/01